"String theory. You wouldn't understand."

Audrey Ewell and Aaron Aites, the filmmakers behind Until the Light Takes Us, recently did an interview with IDT’s Side Shots Film Blog. In it, they discuss how they never plan to make another documentary, why the decided to move to Norway in order to film Light, and what it was like to deal with such strong personalities as Varg Vikerenes and Fenriz. Based on their approach to the film, as well as their upcoming project (a narrative film called The Living Day, set on a commune in Vermont), it’s clear they’re attracted to overlooked subcultures–not to mention snow. It’s an interesting interview, so check it out.

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Imagine my surprise: I arrived 30 minutes early to the Grand Illusion Cinema, Seattle’s oldest (and probably smallest) active theater, to find that Until the Light Takes Us was sold out. Why surprise? Well, if you haven’t heard of the film, you’re far from alone: the documentary on black metal, Norway’s most infamous musical export, is currently making the limited-engagement rounds across the US. On IMDb, it has a paltry 119 votes. So how did it sell out?

On closer inspection, it’s less of a shock. Black metal, whose practitioners wear a style of makeup called corpsepaint and shy away from high production value, has long attracted a cult following. This small, vocal minority champions artists who stay “true” and shun those who go commercial. It is a strange, contradictory movement, and much more interesting as a cultural phenomenon than as a style of music. Prior to Light, black metal had already spawned a number of other documentaries and books. Continue reading →